Audition Guidelines for Singers
1. Use arias from the standard repertoire. Arias should only be 3 to 4 min.
2. Use arias appropriate to your voice type.
3. The arias should contrast in mood and style.
4. Do not use arias that are new to you.
5. Only use arias that display your abilities and that are completely comfortable.
6. Consider the difficulty of the accompaniment.
7. Make sure the entire role from which the aria is taken is vocally suitable.
8. Attempt to sing an aria from the company repertory.
9. Have on you everything you sing well (as well as the number of arias needed).
10. Bring extra photos, resumes.
11. Have something in English.
12. Have a Musical Theater piece
13. Avoid traps. Ex. the audition panel has you sing something you have never seen.
14. No show is a no no. They keep records.
15. Do not sing if you are sick. Call/email and cancel.
When they call your name . . .
1. You are “on” when you step in the room.
2. Give the pianist your music, Give instruction only if they ask. Do not conduct.
3. Say you name loudly and state what you will sing.
4. Never say “First I would like to sing”. They might not hear a second.
5. Sing your tempo.
6. Know what you are singing and who is on stage with you during the opera. Be specific with gestures and never perform a half gesture.
7. Never outwardly comment on your performance. If they cut you off mid-aria do not make a facial expression of disappointment etc. you might have won the role and they don’t need to hear anymore!
8. When they say “Thank-you” the audition is over. Return the gesture by saying
“Thank-you” back to them.
9. There is rarely any correlation between how you thought it went and whether you were successful.
How to prepare your music.
1. Have an audition binder with your repertoire.
2. Have clean copies, double sided. mark all cuts, cleanly whole punched, all the notes must be on the page.
3. Block cuts out completely with a piece of paper taped (not stapled) to the page.
4. Do not use transparent folders as this causes glare and static.
What are they looking for?
1. Vocal Health
2. Your ability to create a mood and character.
3. Whether you can move on stage.
4. Authority on stage
5. Pizzaz.
What goes on a resume?
1. The truth.
2. Name, email. phone number, alt phone number
3. Vital stats
4. Opera experience
Roles
Count Almaviva LE NOZZE DI FIGARO Opera Toronto 2009
Sid ALBERT HERRING Fresno Grand Opera 2008
Representative roles
Taddeo ITLAIAN GIRL IN ALGIERS
Oratorio
Jesus ST. MATTHEW PASSION Fresno State 2009
Education
Bachelor of Arts, music FRESNO STATE UNIVERSITY 2009
Special Awards
Singer of the World BIGTIME VOCAL COMPETITION 1999
Special Skills
Teachers and Master classes
Advice to remember:
1. An audition is a business transaction.
2. The audition panel is made up of real people and they genuinely want you to do well.
Tuesday, April 28, 2009
Friday, April 24, 2009
FAQ’s about auditioning for Opera Workshop from “Ask Dr. Radford"
In the spirit of ASK QUESTION, GET ANSWER-----
Q. Why are you holding auditions.
A. An Opera Workshop audition is great practice for auditioning. As singers you will probably audition more than you perform, especially in the first years of your career. It is usually not a good idea to “practice” auditioning by auditioning for professional opportunities or graduate schools. These institutions keep files and you don’t want to have a bad audition on file. So “in-school” auditions are the perfect place to practice your auditioning skills.
Q. What are you looking for?
A. NUMBER ONE: PEOPLE WHO ARE ABLE TO LEARN THEIR MUSIC. If you are unable to manage your time and learn your music you are out. You can be replaced. I can also cancel the scene. If you have a history of not learning your music you might not be cast this year; end of story. We just don’t have the money to hire people to help you learn the music. I also don’t have the time to yell at you. coax you, be your mother etc. You are not entitled to anything. You have to work for everything.
NUMBER TWO: I am looking for people who are able to understand and portray their character. NUMBER THREE AND FINALLY: I am looking for singers with operatic vocal potential.
Q. Why are you holding auditions this early.
A. Early auditions give us a chance during the summer, to look at the music and prepare. When we start school we are all going to have other commitments and very little time to prepare. Opera Workshop can only meet for 4 hours a week and we only have one pianist to help you with your role. So learning your role before the beginning of the semester is important.
Q. I am new to opera, if I audition will I get a role?
A. When it comes to auditioning we rarely get what we want. You will get what you want for every 1 in every 50 auditions, if you are lucky. It can be a very devastating process. However this is a school and I want to give everyone an opportunity to get their feet wet. I was new at this at one time and I appreciated my opera director giving me a few small roles or even an opportunity to be in the chorus. This class is open to everyone, from the first time opera singer to the experienced singer. Be mindful that this is a team effort and there is a reason why we have all heard the saying "there are no small parts", because every part is important. This is a team game and no one is bigger or more important than anyone else. A production of Madama Butterfly is just as doomed if it loses Butterfly (3 hours of singing) as it is if they lose Uncle Bonze (3 min of singing) to illness.
Q. What can you tell me about being in an Opera Workshop? What can I expect?
A. Opera Workshop, in my experience, was the hardest and most nerve-racking class. This was offset by the fact that it was SO MUCH FUN. It is extremely hard to sing well, come in on time, walk, and act at the same time. It is harder to find the time to learn the role on your own. You always arrive to rehearsal thinking OH MY do I really know this music? I am not ready to be off book. Here is my advice: do your work and you will find that you know more than you think. Failure is part of learning. There will be times when you disappoint your director and more importantly your fellow actors but as long as you learn from your mistakes you will succeed. The temptation for some to make the experience all about them is strong, but these individuals have to remember that opera is a team game and without EVERYONE, NO ONE IS ANYONE (G and S rip off)
Q. If I don’t get a role and I expected one, what should I do?
A. You should see me. This is an open process and we can talk. It is nothing personal and we will see how we can make you happier.
Q. Why should I be in Opera Workshop?
A. The philosophy behind Opera Workshop can be defined as learning while doing. So much of our lives are spend sitting at a desk, watching a screen or reading a book. In this class you get up and move. You will create a real bond with your fellow singers, and work as a team. In some rehearsals it will seem like you are being under used so in those down times stay positive and keep yourself from needless complaining. Complaining can be infectious and ruins cast moral. Don't be responsible for needless complaining. If you have a complaint see me and we will try and resolve it. Rock/paper/scissors is always a great tool!
http://en.wikipedia.org/wiki/Rock-paper-scissors
As we get near the performance the time commitment might be intense so you must be ready to work. You will find yourself doing more than singing, you will be helping to put on an entire production.
Q. Why are you holding auditions.
A. An Opera Workshop audition is great practice for auditioning. As singers you will probably audition more than you perform, especially in the first years of your career. It is usually not a good idea to “practice” auditioning by auditioning for professional opportunities or graduate schools. These institutions keep files and you don’t want to have a bad audition on file. So “in-school” auditions are the perfect place to practice your auditioning skills.
Q. What are you looking for?
A. NUMBER ONE: PEOPLE WHO ARE ABLE TO LEARN THEIR MUSIC. If you are unable to manage your time and learn your music you are out. You can be replaced. I can also cancel the scene. If you have a history of not learning your music you might not be cast this year; end of story. We just don’t have the money to hire people to help you learn the music. I also don’t have the time to yell at you. coax you, be your mother etc. You are not entitled to anything. You have to work for everything.
NUMBER TWO: I am looking for people who are able to understand and portray their character. NUMBER THREE AND FINALLY: I am looking for singers with operatic vocal potential.
Q. Why are you holding auditions this early.
A. Early auditions give us a chance during the summer, to look at the music and prepare. When we start school we are all going to have other commitments and very little time to prepare. Opera Workshop can only meet for 4 hours a week and we only have one pianist to help you with your role. So learning your role before the beginning of the semester is important.
Q. I am new to opera, if I audition will I get a role?
A. When it comes to auditioning we rarely get what we want. You will get what you want for every 1 in every 50 auditions, if you are lucky. It can be a very devastating process. However this is a school and I want to give everyone an opportunity to get their feet wet. I was new at this at one time and I appreciated my opera director giving me a few small roles or even an opportunity to be in the chorus. This class is open to everyone, from the first time opera singer to the experienced singer. Be mindful that this is a team effort and there is a reason why we have all heard the saying "there are no small parts", because every part is important. This is a team game and no one is bigger or more important than anyone else. A production of Madama Butterfly is just as doomed if it loses Butterfly (3 hours of singing) as it is if they lose Uncle Bonze (3 min of singing) to illness.
Q. What can you tell me about being in an Opera Workshop? What can I expect?
A. Opera Workshop, in my experience, was the hardest and most nerve-racking class. This was offset by the fact that it was SO MUCH FUN. It is extremely hard to sing well, come in on time, walk, and act at the same time. It is harder to find the time to learn the role on your own. You always arrive to rehearsal thinking OH MY do I really know this music? I am not ready to be off book. Here is my advice: do your work and you will find that you know more than you think. Failure is part of learning. There will be times when you disappoint your director and more importantly your fellow actors but as long as you learn from your mistakes you will succeed. The temptation for some to make the experience all about them is strong, but these individuals have to remember that opera is a team game and without EVERYONE, NO ONE IS ANYONE (G and S rip off)
Q. If I don’t get a role and I expected one, what should I do?
A. You should see me. This is an open process and we can talk. It is nothing personal and we will see how we can make you happier.
Q. Why should I be in Opera Workshop?
A. The philosophy behind Opera Workshop can be defined as learning while doing. So much of our lives are spend sitting at a desk, watching a screen or reading a book. In this class you get up and move. You will create a real bond with your fellow singers, and work as a team. In some rehearsals it will seem like you are being under used so in those down times stay positive and keep yourself from needless complaining. Complaining can be infectious and ruins cast moral. Don't be responsible for needless complaining. If you have a complaint see me and we will try and resolve it. Rock/paper/scissors is always a great tool!
http://en.wikipedia.org/wiki/Rock-paper-scissors
As we get near the performance the time commitment might be intense so you must be ready to work. You will find yourself doing more than singing, you will be helping to put on an entire production.
FREE CONCERT!!!
All prospective voice students for admission to Fresno State in the Fall of 09 will receive a free ticket to the final choral concert of the year "Transitions". The concert is May 7th, at 8pm in the Fresno State Concert Hall. Come by and meet your new professors and fellow students. Email Dr. Anna Hamre for your free ticket at ahamre@csufresno.edu
A reminder that Opera Workshop auditions are on the same day between 4-6!!! If you would like to audition email me at aradford@csufresno.edu. You do not need an opera aria to audition, just a song you sing well!
Don't forget to register for DOG DAYS. This is our annual orientation fair where you will learn about your new school. Visit http://www.csufresno.edu/studentaffairs/programs/dogdays/index.shtml for more information.
A reminder that Opera Workshop auditions are on the same day between 4-6!!! If you would like to audition email me at aradford@csufresno.edu. You do not need an opera aria to audition, just a song you sing well!
Don't forget to register for DOG DAYS. This is our annual orientation fair where you will learn about your new school. Visit http://www.csufresno.edu/studentaffairs/programs/dogdays/index.shtml for more information.
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